Cereal, hand sanitizer, aspirin tablets, and red wine aren’t what you usually think of when it comes to processing 35mm film but Amber Lauder, an experimental photographer, doesn’t shy away from the risk.
Curiosity drives her art making process often leaving behind a striking, authentic, and unexpected result. Born in the UK, and raised in NY and Florida before eventually settling in Pennsylvania, Amber has tried her hand in several mediums. A true lover of the process — many of Lauder’s techniques require her to step outside of her comfort zone: “‘What if?’ drives a lot of my work,” says Lauder, “I love that the process asks me to be uncomfortable and to do the weird or unexpected thing with the hope of a beautiful, rewarding result.”
Below, we caught up with Amber to learn more about her unique process and approach to artmaking:
Tell us about yourself! How would you describe yourself, as a whole, not just in the context of artmaking?
I was born in the UK, grew up in New York and Florida, and eventually settled in Pennsylvania, where I’ve really found my rhythm. Outside of making art, I love walking nature trails, practicing yoga, reading romance novels, and spending time with my husband and our two kitties. I’d describe myself as a curious person who embraces change and enjoys the present moment, even when things get unpredictable. In my everyday life, I focus on compassion, creativity, and having fun – following what lights me up and letting that energy guide everything I do.
Have you always known you wanted to be an artist?
I’ve always been interested in art and self-expression. I loved taking photos, painting, drawing, looking at art – anything that could be considered artful really drew me in as a child. It obviously continues to draw me in now, as an adult! Though, only in the past few years have I started to create consistently and fully embrace that I am an artist. I’m so grateful that I did.
Can you tell us about your process? What happens between image capture and the final piece?
Technically speaking, much of my work is created using experimental photography techniques. I shoot 35mm film, 110 film, instant film and digital formats. I love trying everything and I love being new at something. I’m not a purist at all. The more there is for me to try and have fun with, the more excited and inspired I am.
A favorite technique of mine is the 35mm film soup process. I like to think of it as “ruining film to make it uniquely beautiful.” Film soup involves taking an exposed roll of film, putting it in a container and adding different ingredients to it before covering it all up with hot water. Any ingredient will do. A few favorites of mine are lemon juice, baking soda and red wine. Sometimes I use “weirder” ingredients like hand sanitizer, aspirin tablets, energy drinks or cereal! From there, I agitate the mixture every few hours, leaving the film in the mixture for about 24 hours. After that, I dry the film and let it sit in rice or on a windowsill for two weeks or more before sending it off to the lab. It’s important to be careful when sending soaked film to labs, so be sure to check if your lab processes souped film. Some people develop their film soup rolls themselves – which I admire but I send mine to Film Lab 135, a film lab created specifically for film soup. I’m always amazed at the results of my soups, regardless of the ingredients used. It’s so cool to see what film can do. Other 35mm and digital works are created with intentional light leaks, camera movement, experimental lens filters, hand-fogging, multiple exposures and more. The list is endless because I’m sure there is something that I haven’t tried yet!
I have fun with Polaroids too. I love embellishing my Polaroids with sequins and gems to add a little sparkle. Last year, I learned how to embroidery, watercolor and emulsion lift Polaroids which was super refreshing to try. I also use experimental lens filters and prisms to add color and other effects.
On the editing side of things, I’ll layer film soup images over non-souped images, change colors or collage elements of different photos together to create a new photo entirely. There are so many possibilities. The initial capture often acts as a base and it all grows from there. When I’m editing, I don’t really have an end result in mind. It’s kind of like putting a puzzle together. I edit a bit until I feel like the piece is complete.
When I know, I know. I look at the before and after and I think, ”Oh my goodness, I did this! I made something! How exciting is that?” As strange as it may sound, I really enjoy having no plan. I am very much a planner in other areas of my life, but not when it comes to art. So for me, art is really about letting go and seeing what happens and that’s so refreshing.
The question “What if?” drives a lot of my work. “What if I add a ton of river water to my film soup since I shot photos of a river on that roll?” or “What if I expose my film roll to a bunch of bright colors in a dark room?” or “What if I shoot an entire roll with my eyes closed?” There is risk involved with all of these techniques, but I love the process and I love that the process asks me to be uncomfortable and to do the weird or unexpected thing with the hope of a beautiful, rewarding result.
So much of your work captures the natural world around us. Walk us through a day in your life. We’re imagining lots of time outside?
Absolutely! On an ideal day, I’ll head to a spot that’s full of whatever I’m hoping to capture. In the summer here in Pennsylvania, I love visiting wildflower fields or fruit-picking farms with my cameras. There’s always so much color and life – it’s the perfect place to get inspired and start shooting. I don’t usually go in with a strict plan about what I’m going to shoot or how, so when I arrive, I like to take my time and really get a feel for the place. That part of the process is so rewarding – almost meditative. Once I’ve had time to settle in and connect with the space, I start picking out my subjects and shooting. It’s such a joyful, intuitive way to create, and it makes every shot feel like a little adventure.
Does your Pittsburgh homebase provide challenges during the winter, times when you can’t wander as freely, or buds aren’t blooming? If so, how do you find inspiration in the off-season?
That’s an excellent question! I’ve had an interesting time figuring this one out myself. But again, it’s the “what if?” of it all. While the majority of my work is focused on the florals and plants that we see in the spring and summer, I love bringing my cameras out on a snowy or gloomy day. Bringing some color and whimsy to a darker winter landscape or bare tree branch through experimental photography has changed how I feel about the limitations of the season. Other times, I take my art inside! Recently, I’ve been having lots of fun with scanography. This process involves using a flatbed scanner to scan objects to make art. I enjoy scanning natural elements like flowers and leaves and moving them around as the scanner moves to create abstract, glitchy effects. I’ve only just become familiar with this process, so I plan to experiment with it a lot more. I also visit conservatories in the winter, which gives me the opportunity to snap some photos of flowers and greenery. It’s a good way to get out of the cold too!
Are there any artists whose work you hope to evoke? Or that provides inspiration across mediums?
I can’t talk about inspiration without talking about Amy Elizabeth. She lives the truth that art is therapy and vulnerability, and she is so gifted at sharing that truth with the world and building community. I wouldn’t have embraced my identity as an artist without her. Our work is different, but I like to think that we share similarities in our artistic mindset. She also owns Film Lab 135, where I get my film soup processed!
Additional artists I’m inspired by are Siobhán O’Dwyer, Matias Alonso Revelli, Navina Khatib, Rachael Baez, Lisa Toboz, Tommy Kwak and Neil Krug. They do phenomenal work incorporating otherworldly, surreal elements in their pieces. I’m always enchanted by them! Of course, Frida Kahlo, Dalí and Van Gogh. The color, textures and dreamy qualities in their work will forever blow my mind. I’m also very inspired by the eccentricities of collage. Julia Walck, Roger Mattos, Sarah Eisenlohr, Casey Goddard and Alex Ratcliff are some of my favorite collage artists! Beyond artists, I’m inspired by anything with a whimsical, playful or fantastical element. Think Willy Wonka, Yellow Submarine, The Wizard of Oz and the like.
What is a medium you can’t wait to experiment with or try out for the first time?
I’ve never shot 120 film before! So many of my friends in the film community create incredible work with medium format photography. It may be something that I finally try in 2025.
Do you have a favorite piece? Did you know it would be your favorite when you created it?
I’m not sure I have a favorite – that would be like picking a favorite child! However, there is a piece that stands out. It’s titled “The Reward.” It’s one of the first digital pieces that I created and got excited about. I collaged multiple elements of the same photo together and it turned out beautifully.
Are there any unexpected places you’ve found inspiration for your photography or Surface Pattern making?
I’ve actually found a lot of inspiration in editing old photos from when I was much younger, before I fully embraced my artistic side. I’ve called this my “corrective experiences” project – taking old memories and turning them into something new that I can relate to and find joy in now. It’s kind of been a self-led art therapy for me!
Where is a dream location you’d like to see your art displayed?
It would be wonderful to see my work in galleries, museums, theaters and other venues located in cities that are important to me. It would mean so much to me to have my work displayed in Sheffield, England (where I was born), New York and Fort Lauderdale, Florida (where I grew up), and Pittsburgh, Pennsylvania (where I live now). And in the homes of everyone reading this 🙂
Photos by Loren Demarco & Interview by Molly Stone